When Motion City Soundtrack’s fourth album My Dinosaur Life was released on Monday 18th January 2010, Sam and I had been together for a little over a fortnight. It was probably the first new album of any significance to me that was released during our relationship.
By luck, Sam was also a fan of the band, so this record (plus the deluxe edition bonus tracks) was very much the soundtrack to those early days of what would become, not to put it too dramatically, the rest of our lives.
It was fitting then that this show at the Electric Ballroom in Camden on MCS’ March 2010 UK tour would be the first gig that we went to together (assuming you don’t count the few times Sam came to see our band). It was also our first time in London together, so we did fairly typical tourist like things during the day before the show.
I’d been going to London once or twice, sometimes more, times a year in the decade prior to this with friends, family, etc and had built up a handful of my own traditions that I no doubt subjected Sam to as well. She must have enjoyed them because 12 years later we’re still going on similar trips.
It all sounds peachy and it was, despite the fact that as the day went on I was getting closer and closer to the brink of a full blown cold. I’m struggling to remember the opening support because we definitely didn’t see them. We sat in area upstairs at the Electric Ballroom whilst whoever they were played and I tried to perk myself up and fight off that heavy headed feeling.
“I am wrecked. I am overblown. I’m also fed up with the fucking common cold.” – The irony is not lost on me.
Browsing the set list from the show, it looks like they played a fair chunk of that recent release. Looking back over their discography almost seven years since their last record, I think My Dinosaur Life may be my least favourite, despite the significant memories I have attached to it, the amazing artwork by Joe Ledbetter and production by Mark Hoppus (who also produced my favourite MCS album Commit This To Memory), I just always wished the keyboards hadn’t been dialled down quite as much on some tracks.
The main support was Jenny Owen Youngs, who I can remember Justin Pierre championing around this time and I had every intention of checking out more of her music after this show, unfortunately this was still a bit before Spotify made this super easy to do. I’m actually fixing that as I write this.